748:
226:
352:
599:
815:
690:
794:
709:
618:
658:
678:
769:
638:
31:
732:
405:
496:
747:
138:
94:
814:
70:, including for example a Madonna, especially if the donor is very prominent. The terms are not used very consistently by art historians, as Angela Marisol Roberts points out, and may also be used for smaller religious subjects that were probably made to be retained by the commissioner rather than donated to a church.
708:
249:
flanked by two saints, with
Turtura, a female donor, in front of the left hand saint, who has his hand on her shoulder; very similar compositions were being produced a millennium later. Another tradition which had pre-Christian precedent was royal or imperial images showing the ruler with a religious
206:
At least in
Northern Italy, as well as the grand altarpieces and frescos by leading masters that attract most art-historical attention, there was a more numerous group of small frescoes with a single saint and donor on side-walls, that were liable to be re-painted as soon as the number of candles lit
400:
Before the 15th century a physical likeness may not have often been attempted, or achieved; the individuals depicted may in any case often not have been available to the artist, or even alive. By the mid-15th century this was no longer the case, and donors of whom other likenesses survive can often
392:
where, however, the donors are shown kneeling on a sill outside and below the main architectural setting. This innovation, however, did not appear in
Venetian painting until the turn of the next century. Normally the main figures ignore the presence of the interlopers in narrative scenes, although
366:
During the Middle Ages the donor figures often were shown on a far smaller scale than the sacred figures; a change dated by Dirk Kocks to the 14th century, though earlier examples in manuscripts can be found. A later convention was for figures at about three-quarters of the size of the main ones.
461:
the vogue of the collective portrait grew and grew ... status and portraiture became inextricably entwined, and there was almost nothing patrons would not do to intrude themselves in paintings; they would stone the women taken in adultery, they would clean up after martyrdoms, they would serve
319:
Donor portraits of noblemen and wealthy businessmen were becoming common in commissions by the 15th century, at the same time as the panel portrait was beginning to be commissioned by this class - though there are perhaps more donor portraits in larger works from churches surviving from before 1450
277:
with courtiers are not of the type showing the ruler receiving divine approval, but each show one of the imperial couple standing confidently with a group of attendants, looking out at the viewer. Their scale and composition are alone among large-scale survivals. Also in
Ravenna, there is a small
342:
was the "presentation portrait", where the manuscript began with a figure, often kneeling, presenting the manuscript to its owner, or sometimes the owner commissioning the book. The person presenting might be a courtier making a gift to his prince, but is often the author or the scribe, in which
129:
or condition that masses for the donor be said in perpetuity, and portraits of the persons concerned were thought to encourage prayers on their behalf during these, and at other times. Displaying portraits in a public place was also an expression of social status; donor portraits overlapped with
161:
suggest that their additional purpose was to serve as role models for the praying beholder during his own emotional meditation and prayer – not in order to be imitated as ideal persons like the painted Saints but to serve as a mirror for the recipient to reflect on himself and his sinful status,
471:
In Italy donors, or owners, were rarely depicted as the major religious figures, but in the courts of
Northern Europe there are several examples of this in the late 15th and early 16th centuries, mostly in small panels not for public viewing. The most notorious of these is the portrayal as the
324:
with a
Madonna and Child, usually on the left wing, and a "donor" on the right - the donor being here an owner, as these were normally intended to be kept in the subject's home. In these the portrait may adopt a praying pose, or may pose more like the subject in a purely secular portrait. The
1108:
582:
Although donor portraits have been relatively little studied as a distinct genre, there has been more interest in recent years, and a debate over their relationship, in Italy, to the rise of individualism with the Early
Renaissance, and also over the changes in their iconography after the
598:
689:
657:
617:
294:
of Popes who had commissioned the building or rebuilding of the churches containing them show standing figures holding models of the building, usually among a group of saints. Gradually these traditions worked their way down the social scale, especially in
81:, the donor usually shown kneeling to one side, in the foreground of the image. Often, even late into the Renaissance, the donor portraits, especially when of a whole family, will be at a much smaller scale than the principal figures, in defiance of
250:
figure, usually Christ or the Virgin Mary in
Christian examples, with the divine and royal figures shown communicating with each other in some way. Although none have survived, there is literary evidence of donor portraits in small chapels from the
1104:
199:. If they are on different sides, the males are normally on the left for the viewer, the honorific right-hand placement within the picture space. In family groups the figures are usually divided by gender. Groups of members of
731:
225:
183:
shares the painting space equally with the
Madonna and Child, but Rolin had given great sums to his parish church, where it was hung, which is represented by the church above his praying hands in the townscape behind him.
466:
were some of the few figures respectable
Venetians were unwilling to impersonate. ... the only contingency they did not envisage was what actually occurred, that their faces would survive but their names go
215:
and said: 'This one is to be gotten rid of, since as long as I have been the Priest here I have never seen anyone light a candle in front of it, nor has it ever seemed to me useful; therefore, mason, get rid of
203:, sometimes with their wives, are also found. Additional family members, from births or marriages, might be added later, and deaths might be recorded by the addition of small crosses held in the clasped hands.
315:
cleric holding a model building. In subsequent centuries bishops, abbots and other clergy were the donors most commonly shown, other than royalty, and they remained prominently represented in later periods.
530:, although here it was often the principal figures who were given the features of the commissioner. A very late example of the old Netherlandish format of the triptych with the donors on the wing panels is
824:
and his family, 1596. The five children holding crosses had died; the two in black-trimmed white garments apparently before the painting was done, on the others the crosses were probably added later.
423:, where they can often be distinguished by their expensive contemporary dress. In Florence, where there was already a tradition of including portraits of city notables in crowd scenes (mentioned by
351:
768:
550:("Doubting Thomas") and the work as a whole is ambiguous as to whether the donors are represented as occupying the same space as the sacred scene, with different indications in both directions.
637:
557:, where groups of portrait sitters posed as historical or mythological figures. One of the most famous and striking groups of Baroque donor portraits are those of the male members of the
211:
And going around with the master mason, examining which figures to leave and which to destroy, the priest spotted a Saint Anthony and said: 'Save this one.' Then he found a figure of
793:
677:
117:
The purpose of donor portraits was to memorialize the donor and his family, and especially to solicit prayers for them after their death. Gifts to the church of buildings,
449:
was completed, family members and political allies of the Tornabuoni populate several scenes in considerable numbers, in addition to conventional kneeling portraits of
762:, with five kneeling donor portraits (and perhaps the donor's dog). The very small girl was perhaps an infant death or a later addition to the family and the painting
58:
is a portrait in a larger painting or other work showing the person who commissioned and paid for the image, or a member of his, or (much more rarely) her, family.
134:
in churches, the other main way of achieving these ends, although donor portraits had the advantage that the donor could see them displayed in his own lifetime.
401:
be seen to be carefully portrayed, although, as in the Memling above, daughters in particular often appear as standardized beauties in the style of the day.
241:
may well reflect a long-established classical tradition, just as the author portraits found in the same manuscript are believed to do. A painting in the
441:, is dominated by the glamorous procession containing more portraits of the Medici and their allies than can now be identified. By 1490, when the large
162:
ideally leading him to a knowledge of himself and God. To do so during prayer is in accord with late medieval concepts of prayer, fully developed by the
1206:
375:
integrated, with varying degrees of subtlety, donor portraits into the space of the main scene of altarpieces, at the same scale as the main figures.
535:
1131:
with a more personal one, perhaps after Lady Donne travelled to Bruges, or a drawing was made in Calais for him. See the entry for the painting in
915:
In fact half of the 83 14th-century Venetian images, in what is intended to be a complete catalogue by Roberts, are of this group type. Roberts, 32
397:, which were more likely to have been intended for the donor's home, the main figures may look at or bless the donor, as in the Memling shown.
362:, c. 1514, with a tiny donor couple among the feet of the main figures. Altdorfer was one of the last major artists to retain this convention.
299:, where they are often owner portraits, as the manuscripts were retained for use by the person commissioning them. For example, a chapel at
1450:
1247:
283:
335:
was a forerunner of these. In some of these diptychs the portrait of the original owner has been over-painted with that of a later one.
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541:
1467:
1424:
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before them fell off, or a wealthy donor needed the space for a large fresco-cycle, as portrayed in a 15th-century tale from Italy:
507:
1036:
1513:
1057:, cat no 40, (National Gallery of Art (U.S.), Koninklijk Museum voor Schone Kunsten (Belgium)), Yale University Press, 2006,
821:
722:
274:
169:
When a whole building was financed, a sculpture of the patron might be included on the facade or elsewhere in the building.
1398:
1295:
1074:
1051:
969:
714:
85:. By the mid-15th century donors began to be shown integrated into the main scene, as bystanders and even participants.
608:
158:
368:
191:, the donors were shown on the closed view of an altarpiece with movable wings, or on both the side panels, as in the
393:
bystanding saints may put a supportive hand on the shoulder in a side-panel. But in devotional subjects such as a
30:
1354:
463:
35:
419:
In narrative scenes they began to be worked into the figures of the scene depicted, perhaps an innovation of
384:
1246:
John Pope-Hennessy (see Further reading), 22–23, quoted in Roberts, 27, note 83. Sentence on Suzannah from
725:
holding a miniature church, as he had presumably paid for the whole building the painting was intended for.
404:
1385:
Jacobs, Lynn F., "Rubens and the Northern Past: The Michielsen Triptych and the Thresholds of Modernity",
930:. In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. Accessed September 10, 2008
779:
753:
664:
503:
408:
339:
296:
262:
1518:
1213:
667:(died 1277) as benefactress to the Franciscans, is the earliest surviving stained-glass donor portrait (
567:
546:
485:
424:
420:
332:
39:
784:
644:
562:
499:
446:
196:
192:
1438:
62:
usually refers to the portrait or portraits of donors alone, as a section of a larger work, whereas
804:
450:
389:
279:
229:
13th-century frescoes from Milan: Madonna and Child, Saint Ambrose, and the donor Bonamico Taverna)
851:
See particularly Roberts, 22–24 for a review of the historiography as to the motivations of donors
495:
415:, the two fashionably dressed girls, and probably the young man on the right, are donor portraits.
1486:
758:
668:
628:
576:
454:
359:
238:
82:
1205:
in Birmingham, if it is indeed from the same altarpiece. Washington attribute the work to the "
1463:
1446:
1420:
1402:
1376:
1362:
1345:
1321:
1230:
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1160:
1152:
1136:
1058:
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738:
695:
442:
394:
287:
242:
1387:
1013:
527:
523:
519:
246:
188:
702:
with donor Jacopo di Bartolomeo, named in the inscription and with his coat of arms at left
561:
family, who sit in boxes as if at the theatre to either side of the sculpted altarpiece of
320:
than panel portraits. A very common Netherlandish format from the mid-century was a small
42:
shows the fashionably dressed donor integrated into the main scene, the central panel of a
1498:
Das altniederländische Stifterbild. Emotionsstrategien des Sehens und der Selbsterkenntnis
1443:
Das altniederländische Stifterbild. Emotionsstrategien des Sehens und der Selbsterkenntnis
1144:
1112:
1040:
944:
884:
Das altniederländische Stifterbild. Emotionsstrategien des Sehens und der Selbsterkenntnis
871:
Das altniederländische Stifterbild. Emotionsstrategien des Sehens und der Selbsterkenntnis
774:
604:
434:
251:
163:
974:, pp. 97–99; Gillian Vallance Mackie, Gillian Mackie; University of Toronto Press, 2003,
73:
Donor portraits are very common in religious works of art, especially paintings, of the
1412:
1128:
1116:
624:
481:
438:
327:
234:
1342:
Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries
1507:
1483:(The Donor Portrait in Italian Painting of the 13th to 15th centuries), Cologne, 1971
1455:
737:
Hans Memling; the Madonna looks benevolently at the donor, who is presented by Saint
648:
200:
180:
175:
122:
1430:
1033:
927:
860:
James WEALE, Généalogie de la famille Morales, in Le Beffroi, 1864–1865, pp 179–196.
27:
Portrait in a larger work showing the person who commissioned and paid for the image
1237:, discusses the donor portraits in the cycle in detail (especially the female ones)
526:, but survived well into the Baroque period, and developed a secular equivalent in
489:
372:
170:
146:
131:
126:
106:
98:
1193:, pp. 155–161, National Gallery of Art, Washington(catalogue)/Cambridge UP, 1986,
627:, the Byzantine princess who commissioned the illuminated manuscript known as the
518:, were disapproved of by clerical interpreters of the vague decrees on art of the
378:
A comparable style can be found in Florentine painting from the same date, as in
1318:
Die Wurzeln der nordböhmischen Glasindustrie und die Glasmacherfamilie Friedrich
584:
429:
412:
304:
270:
166:. This process may be intensified if the praying beholder is the donor himself.
78:
74:
462:
at the table at Emmaus or in the Pharisee's house. The elders in the story of
137:
93:
17:
1180:
The elder sons also seem very like younger versions of their father's portrait
928:
Ainsworth, Maryan W. "Intentional Alterations of Early Netherlandish Painting"
118:
540:
of 1613–15, once in a church over the tombstone of the donors and now in the
1481:
Die Stifterdarstellung in der italienischen Malerei des 13.-15. Jahrhunderts
948:
150:
110:
943:
a popular 15th-century compilation of comic stories attributed to the real
1148:
1133:
National Gallery Catalogues: The Fifteenth Century Netherlandish Paintings
1156:
515:
379:
43:
1392:
971:
Early Christian Chapels in the West: Decoration, Function and Patronage
718:
558:
321:
312:
266:
212:
67:
1127:
Memling seems to have replaced a generalized portrait of the wife of
799:
572:
531:
308:
258:
1373:
Art in the Christian World, 300–1500; A Handbook of Styles and Forms
1164:
1227:
Women in Italian Renaissance Art: Gender, Representation, Identity
403:
136:
92:
300:
291:
437:(1459–61), which admittedly was in the private chapel of the
254:
period, probably continuing the traditions of pagan temples.
149:, with her eleven daughters behind her. The central panel is
1435:, PhD thesis, 2007, Queens University, Canada (Large File)
1391:, Vol. 91, No. 3 (September 2009), pp. 302–24, JSTOR
1054:
Prayers and Portraits: Unfolding the Netherlandish Diptych
514:
Donor portraits in works for churches, and over-prominent
343:
cases the recipient had actually paid for the manuscript.
311:
donor figures from before 881, one lay and the other of a
145:, the mother, Barbara Van Hertsvelde is supported by her
1294:
Shearman, 182. The frescoes are in the Poggi Chapel, in
195:
and the Memlings above, or just on one side, as in the
109:, with his five sons behind him. The central panel is
66:
may often refer to a whole work of art intended as an
1375:, by Yves Christe and others, Faber and Faber, 1982,
683:
Small donor with enthroned Madonna and Child, ca 1335
237:, and the portrait in the 6th-century manuscript the
1409:. Donor portraits are discussed on pp. 129–144
1432:
Donor Portraits in Late Medieval Venice c.1280–1413
1212:", but note that many attribute the girls alone to
1417:The Sixteenth Century Italian Paintings, Volume I
1320:(only available in German), p. 233, Fuerth 2005,
1052:John Oliver Hand, Catherine Metzger, Ron Spronk;
611:in Rome, carrying a model of the church he built.
873:, pp. 172–180, 241–249, Gebr. Mann, Berlin, 2013
1229:, Manchester University Press, pp. 64–72 1997,
643:12th-century mural with donor portrait of King
459:
233:Donor portraits have a continuous history from
939:Roberts, 16–19. Quote on p. 19, note 63, from
1415:, National Gallery Catalogues (new series):
579:a century early, which use the same conceit.
8:
278:mosaic of Justinian, possibly originally of
1419:, 2004, National Gallery Publications Ltd,
1169:The Fifteenth Century Netherlandish Schools
453:and his wife. In an often-quoted passage,
457:caricatured 16th-century Italian donors:
1085:King, 129. See further reading for Kocks.
721:master, ca. 1350, with donor portrait of
1359:The Pictorial arts of the West, 800–1200
899:, pp.112, Reaktion Books, London, 1991,
494:
350:
224:
29:
886:, pp. 317–318, Gebr. Mann, Berlin, 2013
835:
594:
1065:- a diptych in the Fogg Museum Harvard
553:A further secular development was the
1401:, Manchester University Press, 1998,
941:I Motti e facezie del Piovano Arlotto
923:
921:
7:
347:Iconography of painted donor figures
179:is a small painting where the donor
999:Roberts, 5–19 reviews the tradition
411:, ca 1470. Standing alongside the
542:Royal Museum of Fine Arts, Antwerp
25:
1201:. The girls' mother may be in a
897:Jan van Eyck, The Play of Realism
741:, and blessed by the Christ-child
571:(1652). These were derived from
290:, a group of mosaic portraits in
284:Basilica of Sant'Apollinare Nuovo
105:; the father is supported by his
813:
792:
767:
746:
730:
707:
688:
676:
656:
636:
616:
597:
508:Santa Maria della Vittoria, Rome
157:Furthermore, donor portraits in
1491:The Portrait in Renaissance Art
663:Stained-glass window depicting
544:. The central panel shows the
723:Charles IV, Holy Roman Emperor
623:6th-century donor portrait of
1:
1296:San Giacomo Maggiore, Bologna
1010:"example from NGA WAshington"
484:(died 1450), the mistress of
1445:, Gebr. Mann, Berlin, 2013,
1248:M1 Berger & Berger, here
1191:Early Netherlandish Painting
369:Early Netherlandish painters
159:Early Netherlandish painting
125:were often accompanied by a
1344:, p. 151, 1990, Yale,
1034:Example from NGA Washington
338:A particular convention in
1535:
1189:J.O. Hand & M. Wolff,
143:Triptych of Wilhelm Moreel
103:Triptych of Wilhelm Moreel
1462:, 1967, Pelican, London,
1429:Roberts, Angela Marisol;
1399:Renaissance Women Patrons
1135:by Lorne Campbell, 1998,
1039:October 18, 2008, at the
609:Sant'Agnese fuori le Mura
587:of the mid-14th century.
141:Female side of Memling's
1258:Campbell, 3–4, & 137
1075:Burgundian frontispieces
1115:and another example by
1103:Penny, 110, discussing
340:illuminated manuscripts
297:illuminated manuscripts
245:of 528 shows a throned
243:Catacombs of Commodilla
780:Madonna della Vittoria
754:Geertgen tot Sint Jans
665:Beatrice of Falkenburg
607:(died 638), mosaic in
511:
504:Ecstasy of St. Theresa
469:
430:Procession of the Magi
416:
409:Presentation of Christ
367:From the 15th century
363:
263:Basilica of San Vitale
230:
218:
154:
114:
47:
1514:Christian iconography
1316:Walter A. Friedrich:
1216:, the other's master.
1214:Rogier van der Weyden
1209:Adoration of the Magi
822:prosperous glassmaker
568:Ecstasy of St Theresa
547:Incredulity of Thomas
498:
486:Charles VII of France
425:Leon Battista Alberti
421:Rogier van der Weyden
407:
354:
333:Richard II of England
228:
209:
187:Sometimes, as in the
140:
96:
40:Rogier van der Weyden
33:
1207:Master of the Prado
842:Roberts, pp. 1–3, 22
785:Francesco II Gonzaga
715:Master of Vyššà Brod
645:Canute VI of Denmark
563:Gian Lorenzo Bernini
500:Gian Lorenzo Bernini
447:Domenico Ghirlandaio
193:Portinari Altarpiece
121:, or large areas of
451:Giovanni Tornabuoni
390:Santa Maria Novella
280:Theoderic the Great
97:Male side panel of
1487:John Pope-Hennessy
1111:2017-01-16 at the
759:Raising of Lazarus
669:Burrell Collection
629:Vienna Dioscurides
577:Pellegrino Tibaldi
512:
455:John Pope-Hennessy
417:
364:
360:Albrecht Altdorfer
239:Vienna Dioscurides
231:
155:
115:
83:linear perspective
48:
34:This 15th-century
1451:978-3-7861-2695-9
1397:King, Catherine.
1361:, 1993, Yale UP,
1340:Campbell, Lorne,
895:Harbison, Craig,
882:Scheel, Johanna,
869:Scheel, Johanna,
739:Anthony the Great
696:Giovanni di Paolo
555:portrait historié
443:Tornabuoni Chapel
395:Madonna and Child
288:Early Middle Ages
197:MĂ©rode Altarpiece
16:(Redirected from
1526:
1496:Johanna Scheel,
1388:The Art Bulletin
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1012:. Archived from
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783:(c. 1496), with
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601:
528:history painting
524:Charles Borromeo
522:, such as Saint
520:Council of Trent
488:, in a panel by
445:fresco cycle by
275:Empress Theodora
257:The 6th-century
247:Virgin and Child
189:Ghent Altarpiece
21:
1534:
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1474:Further reading
1413:Penny, Nicholas
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1285:Jacobs, 311–312
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1241:
1225:Paola Tinagli,
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1175:
1167:, (also titled
1126:
1122:
1113:Wayback Machine
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1080:
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1041:Wayback Machine
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945:Piovano Arlotto
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805:Rockox Triptych
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788:
775:Andrea Mantegna
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621:
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605:Pope Honorius I
602:
593:
537:Rockox Triptych
435:Benozzo Gozzoli
349:
269:of the Emperor
252:Early Christian
223:
201:confraternities
164:Modern Devotion
91:
64:votive portrait
56:votive portrait
28:
23:
22:
18:Votive portrait
15:
12:
11:
5:
1532:
1530:
1522:
1521:
1516:
1506:
1505:
1502:
1501:
1500:, Berlin, 2013
1494:
1493:, London, 1966
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1471:
1470:
1456:Shearman, John
1453:
1439:Johanna Scheel
1436:
1427:
1410:
1395:
1383:
1369:
1352:
1336:
1333:
1330:
1329:
1309:
1307:Roberts, 20–24
1300:
1287:
1278:
1269:
1260:
1251:
1239:
1218:
1182:
1173:
1129:Sir John Donne
1120:
1117:Marco Marziale
1096:
1087:
1078:
1067:
1044:
1026:
1001:
992:
983:
962:
953:
951:near Florence.
947:, a priest of
932:
917:
908:
888:
875:
862:
853:
844:
834:
833:
831:
828:
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773:
766:
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729:
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706:
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694:
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685:
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662:
655:
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642:
635:
633:
625:Anicia Juliana
622:
615:
613:
603:
596:
592:
589:
476:(or just post-
474:Virgin lactans
439:Palazzo Medici
348:
345:
328:Wilton Diptych
261:panels in the
235:late antiquity
222:
219:
132:tomb monuments
90:
87:
60:Donor portrait
52:donor portrait
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1531:
1520:
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1509:
1499:
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1492:
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1469:
1468:0-14-020808-9
1465:
1461:
1457:
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1437:
1434:
1433:
1428:
1426:
1425:1-85709-908-7
1422:
1418:
1414:
1411:
1408:
1407:0-7190-5289-0
1404:
1400:
1396:
1394:
1390:
1389:
1384:
1382:
1381:0-571-11941-7
1378:
1374:
1370:
1368:
1367:0-300-06493-4
1364:
1360:
1356:
1355:Dodwell, C.R.
1353:
1351:
1350:0-300-04675-8
1347:
1343:
1339:
1338:
1334:
1327:
1326:3-00-015752-2
1323:
1319:
1313:
1310:
1304:
1301:
1297:
1291:
1288:
1282:
1279:
1273:
1270:
1267:Campbell, 3–4
1264:
1261:
1255:
1252:
1249:
1243:
1240:
1236:
1235:0-7190-4054-X
1232:
1228:
1222:
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1215:
1211:
1210:
1204:
1200:
1199:0-521-34016-0
1196:
1192:
1186:
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1177:
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1162:
1158:
1154:
1150:
1146:
1142:
1141:1-85709-171-X
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1124:
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1100:
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1071:
1068:
1064:
1063:0-300-12155-5
1060:
1056:
1055:
1048:
1045:
1042:
1038:
1035:
1030:
1027:
1016:on 2008-09-18
1015:
1011:
1005:
1002:
996:
993:
987:
984:
981:
980:0-8020-3504-3
977:
973:
972:
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963:
957:
954:
950:
946:
942:
936:
933:
929:
924:
922:
918:
912:
909:
906:
905:0-948462-18-3
902:
898:
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889:
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863:
857:
854:
848:
845:
839:
836:
829:
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724:
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716:
710:
705:
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697:
691:
686:
679:
674:
670:
666:
659:
654:
650:
649:Stehag Church
646:
639:
634:
630:
626:
619:
614:
610:
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590:
588:
586:
580:
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388:(1425–28) in
387:
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244:
240:
236:
227:
220:
217:
214:
208:
204:
202:
198:
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190:
185:
182:
181:Nicolas Rolin
178:
177:
176:Rolin Madonna
172:
167:
165:
160:
152:
148:
144:
139:
135:
133:
128:
124:
123:stained glass
120:
112:
108:
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100:
95:
88:
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84:
80:
76:
71:
69:
65:
61:
57:
53:
45:
41:
37:
32:
19:
1519:Portrait art
1497:
1490:
1480:
1479:Dirk Kocks,
1459:
1442:
1431:
1416:
1386:
1372:
1371:"Handbook".
1358:
1341:
1317:
1312:
1303:
1290:
1281:
1272:
1263:
1254:
1242:
1226:
1221:
1208:
1202:
1190:
1185:
1176:
1168:
1132:
1123:
1099:
1090:
1081:
1070:
1053:
1047:
1029:
1018:. Retrieved
1014:the original
1004:
995:
986:
970:
965:
960:Handbook, 67
956:
940:
935:
911:
896:
891:
883:
878:
870:
865:
856:
847:
838:
803:
778:
757:
700:Crucifixion
699:
581:
566:
554:
552:
545:
536:
513:
490:Jean Fouquet
477:
473:
470:
460:
428:
418:
399:
385:Holy Trinity
383:
377:
373:Jan van Eyck
365:
355:
337:
326:
318:
256:
232:
210:
205:
186:
174:
171:Jan van Eyck
168:
156:
147:patron saint
142:
116:
107:patron saint
102:
99:Hans Memling
72:
63:
59:
55:
51:
49:
990:Dodwell, 46
585:Black Death
482:Agnès Sorel
413:Holy Family
356:Crucifixion
305:South Tyrol
271:Justinian I
119:altarpieces
79:Renaissance
75:Middle Ages
1508:Categories
1335:References
1276:Penny, 108
1020:2008-09-10
286:. In the
213:Saint Sano
1460:Mannerism
1094:King, 131
949:Pratolino
808:, 1613–15
651:, Sweden.
89:Placement
1393:40645509
1203:Nativity
1165:98-66510
1157:40732051
1109:Archived
1037:Archived
719:Bohemian
573:frescoes
516:heraldry
464:Suzannah
380:Masaccio
313:tonsured
307:has two
44:triptych
36:Nativity
1149:392219M
591:Gallery
559:Cornaro
478:lactans
467:astray.
427:), the
322:diptych
282:in the
267:Ravenna
221:History
127:bequest
68:ex-voto
1466:
1449:
1423:
1405:
1379:
1365:
1348:
1324:
1233:
1197:
1163:
1155:
1147:
1139:
1061:
978:
903:
800:Rubens
532:Rubens
309:fresco
259:mosaic
830:Notes
492:.
480:) of
371:like
1464:ISBN
1447:ISBN
1421:ISBN
1403:ISBN
1377:ISBN
1363:ISBN
1346:ISBN
1322:ISBN
1231:ISBN
1195:ISBN
1161:LCCN
1153:OCLC
1137:ISBN
1105:this
1059:ISBN
976:ISBN
901:ISBN
717:, a
502:'s "
382:'s
303:in
301:Mals
292:Rome
273:and
216:it.'
151:here
111:here
77:and
777:'s
647:in
575:by
565:'s
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433:by
358:by
331:of
265:in
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101:'s
54:or
38:by
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1441:,
1357:;
1159:,
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1023:.
787:.
631:.
510:.
153:.
113:.
46:.
20:)
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